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Hey everyone, Sinix here.

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It's time for another episode of 
Anatomy Quick Tips,

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the series that is here to give you 
some useful observations

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and help you feel more comfortable with

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drawing people from imagination.

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Today, we'll be talking about arms -

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and also, don't be alarmed but

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this all-arm video puts 
us near the end of this series,

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only two more videos remain.

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Regardless, for now let's just focus 
on these upper appendages.

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This probably won't be the funniest 
video in this series or anything,

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but it will be definitely be the 
most humerus -

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so roll up your sleeves 
and let's get to work.

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Starting out with structure,

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we've already covered both 
shoulders and hands

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in other videos,

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so we just need to make sure we 
can bridge these things together.

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I'm sketching a quick front, side and 
back view of a shoulder to start.

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Seeing a shoulder 
and torso without the arm

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always reminds me of a little 
lamb or something...

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but anyway, we're going to focus on

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the skeletal breakdown of the arm first.

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Of course we have a single major bone

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in the upper arm

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and two in the lower arm

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connected at the elbow.

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But as i draw that, the first thing 
I actually want to point out

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is that things aren't 
in a perfect straight line.

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You can even take a moment

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and try to see this yourself -

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just hold one arm out straight

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and close your opposite eye.

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Now do your best to 
look directly straight down

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the barrel of that massive gun you call

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your upper arm.

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If you line up your 
sight from shoulder to elbow,

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you'll notice the lower arm doesn't really

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line up as much as you might've thought.

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To get really good at 
drawing any organic forms,

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it's important to try and identify 
these types of subtle offsets

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as much as possible.

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Anyway, let's get back to these bones.

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The humerus is of course the bone

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of the upper arm,

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meanwhile the lower arm has the ulna,

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which I would consider 
the primary lower arm bone.

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It's the one you would 
be hitting someone with

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if you elbowed them.

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And then the radius, which originates

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on the exterior side of the elbow

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A.K.A the side that's further 
away from your body -

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and always connects to 
the thumb-side of your hand.

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So we can do a bit 
of a rotational twisting

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around the lower arm.

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Hence the name 'radius'.

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The last skeletal thing I want to mention

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is the funny bone.

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This is just an extension of the humerus

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which protrudes on the 
inner side of the elbow

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closest to the body.

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It's called the funny bone

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because of an exposed 
nerve ending next to it

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that will send a shock up your arm

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if you hit this part of the 
elbow against something.

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So if you ever see a chance to whack

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your friend's funny bone 
with your pencil or stylus

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it's, you know, free comedy.

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Alright, I added some 
hands to these drawings,

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and I know this isn't the hands video

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but since wrists and organic 
offsets are so important,

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let's do a quick look at 
that connection anyway.

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Now keep in mind by the time

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the radius and ulna get to the wrist

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they'll always be side by side,

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and therefore the lower arm connects in

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a much flatter and wider way into the palm

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and back of hand,

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and thinner from the 
side view of the hand.

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Basic stuff, but the fun part is

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any time you're adding a hand to an arm,

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make sure to give it a bit of an offset

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and step over toward the 
thumb/radius side of things.

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Similarly, from the side view 
the hand should always

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take a noticeable offsetting
step toward the palm side.

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By the way when I say the word 'offset'

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it usually just means not lined 
up evenly with surrounding things.

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Anyway, always make sure
the thumb side of the hand

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feels more chunkier and substantial

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than the pinky side of the palm.

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With all of these ideas in mind,

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you should be able to 
develop a quick shorthand

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for getting from the arm into the hand.

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In fact, you should be able to

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quickly deduce everything about the bones

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and orientation of the 
wrist without ever seeing

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the thumbs or fingers or 
any interior information.

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So maybe see how quickly you can determine

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where the radius and the ulna are

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in any of these rough sketches I'm making.

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Hopefully that seems easy enough.

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Let's get back to structure and 
talk about the muscle side of things.

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We're going to make it really easy

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for our drawing purposes

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and only focus on three muscle groups.

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The biceps are on 
the front of your upper arm

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and allow you to curl up your arm.

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They insert under your shoulder 
muscles and chest muscles on one end

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and connect to the radius and 
tissue around the ulna on the other end.

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The triceps are on the back of your arm

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and allow you to pull your arm straight.

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They also come out from under your 
shoulder muscles and similar back muscles

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and connect to the end of the ulna.

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And yes, the deltoids are 
of course the shoulder muscles,

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but the third muscle that we're
going to be fixating on in this video

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is going to be the brachioradialis.

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You must learn to 
love the brachioradialis,

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it will be a pivotal part of 
this video in more ways than one.

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These insertions points are 
important, so keep them in mind.

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It connects from 
the lower back of the humerus

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under the triceps and
it wraps around a bit

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over parts of the lower biceps and

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connects to the radius on the other side.

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I will be exaggerating this 
muscle heavily throughout this video,

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so be aware of that strategic inflation.

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We are going all in on the bray-ray.

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I think that's enough structure though, so

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let's get into some drawing practice.

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A big theme in the land of arms will be

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controlling our organic curves.

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So I guess I will do a quick recap 
on s-curves and c-curves.

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Don't let the names 
throw you off too much,

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most of the s-curves and 
c-curves you'll be drawing

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are going to be extremely subtle.

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Just a whisper of curvature 
going on most of the time.

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And it's good to practice 
that level of control

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but an even more 
important thing to practise

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is your ability to weight your curves.

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Weighting a curve means changing up

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the harshness of the 
curvature through the line.

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So if the curve stays 
consistent from start to finish,

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that would be a weightless curve.

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You can have the curve be 
increasingly strong at the start

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or the end of the line

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to give it weight in a specific direction.

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This is very, very important to practise

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because we spend our 
entire childhoods writing

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letters and shapes which 
curve in a very balanced way,

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but the more you can break away from that

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the more organic your drawings will be,

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so warm up with these often.

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Alright, let's get into those 
simplifications and reductions.

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Or, rather maybe mention
another little side thing...?

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Sorry, there's a lot of 
ways to think about arms.

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Such as the chain,

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a common trick for approaching arms

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is to imagine a giant linking chain -

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the idea being that since the upper arm is

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wider from the side 
view than from a front view,

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and meanwhile the forearm is the opposite,

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it will generally create a nice little 
back and forth between wide and narrow

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which is definitely 
good for aesthetic purposes.

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So you can use that as a little
mental note when applicable.

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Meanwhile, to go back to 
what we've just talked about

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with curve weight, the most 
important mental note I fixate on

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is usually just where to weight the 
curve for each part of the arm.

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On the bicep side of the upper arm,

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the curve weight is 
further toward the elbow.

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Whereas on the 
back or tricep side of things,

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the curve weight 
is closer to the shoulder.

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The brachioradialis is definitely 
weighted toward the upper forearm,

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but is more rounded and gradual than

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the opposite side of the forearm.

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All of these things relate to

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the actual muscle 
bodies of each muscle group,

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the tricep being the most important one

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to always remember, because

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the muscle bodies are located 
in the top half of the upper arm.

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Okay so let's sum up the 
straight arm simplifications

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a bit more directly.

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Back view of the arm, pop 
forward, minimal twisting.

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The upper arm might as well 
just be a simple cylinder

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with minimal tapering.

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But the lower arm is going to feel

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closer to an upside down bowling pin.

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The important part is that

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the exterior side, 
with the brachioradialis

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is going to not only curve outward 
more than the interior side,

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but also come up a bit higher than it.

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It should definitely feel like

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it starts its s-curve above the elbow.

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If we raise the arm up out to the side,

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yes you'll get a bit of the chain concept,

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but since you'll probably 
not be drawing massive bodybuilders

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it can become pretty minor.

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You do want to make sure that

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you're thinking about 
weight and gravity though.

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Obviously this gets a lot 
more extreme with age,

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but on any body type

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you should still be using these ideas

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to give you at least a little 
bit of subtle curve weight.

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Another useful reference 
point to think about

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comes from the shoulder muscle.

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The deltoid comes down to a bit

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of a point on the exterior of the arm.

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While not exact, this can still be used

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as a good way to indicate a break

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between the front bicep side of the arm,

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and the rare tricep side.

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Especially when you're dealing 
with more complex poses

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and off angle views.

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If I draw a quick 
arm over here on the left

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from a slightly awkward angle,

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adding the deltoid and 
letting it point a line

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towards the elbow can at least

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help us visualise the 
tricep and bicep sides of the arm.

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If this drawing looks 
weirdly off to you at first,

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that's good!

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The brachioradialis was not 
coming from the correct spot.

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Let's first recall that the 
brachioradialis should come from

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under the triceps and over the biceps,

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and using that line from the deltoid

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we can visualise this insertion

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much more clearly.

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Moving along,

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some of these straight armed elbows

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might be looking a bit wonky.

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So let's briefly mention them.

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The most important part 
of simplifying the elbow'

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will definitely come from seeing

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the triceps and humerus 
all come together in a mass

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that leads straight down through the elbow

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and into the ulna.

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The funny bone and 
radius both become a bit

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indented on a straight arm,

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so you'll mostly see these

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little pockets of depth off to

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both sides of the triceps and ulna, with

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the forearm muscles
pulling the forms back out

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and really solidifying those crevices.

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There's definitely a lot of skin going on

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in this area, so it tends to become quite

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wrinkly. There's even 
a slang name for this

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folded up skin - it's called the wenis.

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So, everybody should draw the wenis,
the wenis is not a dance,

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and I'm happy to tell you this in advance.

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[laughs] Anyway, wrinkles are tricky. The
general rule is to fold the skin with

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c-curves and s-curves in a way 
that squishes the curves together

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without ever feeling like they're going to
cross each other

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or pass through the extended implied

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lines of other curves.

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You can compress a bunch of them into

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a small space, or just a couple, but I
recommend wrinkling things up

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00:11:49,654 --> 00:11:52,271
a bit above the elbow with perhaps some

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00:11:52,271 --> 00:11:55,376
more drapery style 
folds hanging underneath.

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00:11:55,376 --> 00:11:58,131
You can definitely 
develop your own stylistic

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00:11:58,131 --> 00:12:03,117
approach to wrinkles, and they should feel
similar in theory to clothing folds,

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00:12:03,117 --> 00:12:05,481
but more organic with the lines.

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00:12:05,481 --> 00:12:08,095
Just keep in mind, 
like with clothing folds,

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doing less is usually 
better when learning.

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Alright, a little bit more drawing
in this section, because I want to

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also just quickly mention some size
relations.

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I'm a serial offender of 
making my deltoids too small in drawings,

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00:12:23,377 --> 00:12:27,815
so I'm trying to correct that. I think it
can be useful to think of the upper

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00:12:27,815 --> 00:12:32,010
arms as a length that goes from the top
of the shoulder to the elbow.

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00:12:32,262 --> 00:12:34,531
The top third of that length can be the

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distance of the deltoid 
going down the arm.

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00:12:37,370 --> 00:12:40,165
I barely mentioned it 
before, but the triceps

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00:12:40,165 --> 00:12:44,620
really have two main visible muscle 
bodies on the back of the arm.

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00:12:44,620 --> 00:12:47,844
While they both have those high up muscle
bodies,

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00:12:47,844 --> 00:12:51,965
the interior side one is a bit longer down
toward the elbow,

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00:12:51,965 --> 00:12:56,123
while the exterior one is even more
focussed at the top.

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00:12:56,227 --> 00:13:00,434
The bottom of these muscle bodies and
strong separation of them

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00:13:00,434 --> 00:13:05,004
occurs roughly halfway down the upper
arm unit, that we mentioned going

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00:13:05,004 --> 00:13:06,974
from top of shoulder to elbow.

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00:13:06,974 --> 00:13:11,477
You can kind of indicate this with a 
little butt shape on the back of the arm,

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00:13:11,477 --> 00:13:15,327
especially if it's being flexed. The arm, 
not the butt.

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00:13:15,327 --> 00:13:19,090
Okay, moving along to the world of 
movement,

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00:13:19,090 --> 00:13:22,199
the elbow is basically just a fancy hinge

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00:13:22,199 --> 00:13:27,274
joint with the funny bone on the interior,
the ulna being the king in the center,

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00:13:27,274 --> 00:13:31,854
and the radius on the exterior. 
When the arm is straight, they somewhat

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00:13:31,854 --> 00:13:34,189
line up with the ulna sticking out a bit.

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00:13:34,189 --> 00:13:36,744
From the interior view though, once

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00:13:36,744 --> 00:13:41,237
we start curling the arm, obviously the
funny bone isn't going anywhere.

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00:13:41,237 --> 00:13:46,666
But the ulna is going to hinge around it 
and form a very boxy and angular

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00:13:46,666 --> 00:13:51,688
silhouette, by letting your brain fixate
on the line from funny bone to ulna.

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00:13:51,951 --> 00:13:57,105
All of the tissue of the arm is going to 
crease at the insertion of the bicep and

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00:13:57,105 --> 00:14:01,751
form a bit of a line that points mostly 
toward the funny bone side of things.

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00:14:01,797 --> 00:14:07,267
The important take away is that interior
arm equals boxy shape and long crease.

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00:14:07,267 --> 00:14:11,067
Also, when you raise your arm with your
bicep toward the sky,

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00:14:11,067 --> 00:14:15,473
that means the deltoid is going to be 
pulled to the back of the shoulder.

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99:59:59,999 --> 99:59:59,999
As it, once again, needs to be pointing
towards the exterior line between

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99:59:59,999 --> 99:59:59,999
bicep and tricep.

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99:59:59,999 --> 99:59:59,999
Anyway, the exterior elbow view is a bit
interesting.

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99:59:59,999 --> 99:59:59,999
You'll of course be seeing the deltoid a lot more in this view

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99:59:59,999 --> 99:59:59,999
where the exterior is facing back,

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99:59:59,999 --> 99:59:59,999
but the interesting part is that you're now seeing

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99:59:59,999 --> 99:59:59,999
both the radius and ulna in the straightened arm view.

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99:59:59,999 --> 99:59:59,999
This means that when you curl your arm, those two lower

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99:59:59,999 --> 99:59:59,999
arm bones are going to be traveling together.

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99:59:59,999 --> 99:59:59,999
Even though the silhouette will fundamentally be the same,

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99:59:59,999 --> 99:59:59,999
I find it very useful to acknowledge this anatomy by making the elbow

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99:59:59,999 --> 99:59:59,999
feel like it just rounds up to and around these bones,

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99:59:59,999 --> 99:59:59,999
instead of feeling boxy.

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99:59:59,999 --> 99:59:59,999
You might also remember that the brachioradialis is on the exterior side,

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99:59:59,999 --> 99:59:59,999
so that will create a mass in form that will squeeze from upper arm

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99:59:59,999 --> 99:59:59,999
to lower arm.

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99:59:59,999 --> 99:59:59,999
Because of this mass, the exterior crease here becomes a lot more

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99:59:59,999 --> 99:59:59,999
chubbier and compressed.

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99:59:59,999 --> 99:59:59,999
I like to use a shorter and splitting crease to hint at this

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99:59:59,999 --> 99:59:59,999
thicker form.

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99:59:59,999 --> 99:59:59,999
And you should try to hint at these things in any body type.

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99:59:59,999 --> 99:59:59,999
From a different view, you can get some idea how all of these bones

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99:59:59,999 --> 99:59:59,999
and muscles are working, but for now let's jump over to the

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99:59:59,999 --> 99:59:59,999
forearm movements, because we have rotation to deal with.

315
99:59:59,999 --> 99:59:59,999
If you stick your right harm out in front of you,

316
99:59:59,999 --> 99:59:59,999
palm side up, this is the least twisted view of your forearem.

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99:59:59,999 --> 99:59:59,999
The muscles and bones just carry forth to the hand in a linear fashion.

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99:59:59,999 --> 99:59:59,999
This represents one extreme of your rotational movement.

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99:59:59,999 --> 99:59:59,999
As we rotate the hand, the elbow won't be changing much,

320
99:59:59,999 --> 99:59:59,999
but the radius and brachioradialis will start twisting a bit

321
99:59:59,999 --> 99:59:59,999
to line up vertically at the wrist.

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99:59:59,999 --> 99:59:59,999
The best thing you should observe on your own arm

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99:59:59,999 --> 99:59:59,999
is how the s-curves are just as you rotate your hand.

324
99:59:59,999 --> 99:59:59,999
I'm not in love with the drawing on the right here,

325
99:59:59,999 --> 99:59:59,999
but the interior ulna side of things definitely changes up its

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99:59:59,999 --> 99:59:59,999
s-curve the most, whereas the exterior side

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99:59:59,999 --> 99:59:59,999
just shifts weight a little.

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99:59:59,999 --> 99:59:59,999
Once your palm is facing downwards, the full range of motion is complete.

329
99:59:59,999 --> 99:59:59,999
This is as far as things can twist.

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99:59:59,999 --> 99:59:59,999
The radius and ulna are now on opposite sides from the elbow.

331
99:59:59,999 --> 99:59:59,999
You might be thinking, 'what if I want to give a thumbs down?'

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99:59:59,999 --> 99:59:59,999
Well, physically you can't. So be sure to remember that and like this video.

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99:59:59,999 --> 99:59:59,999
If you do really want to point your thumb down,

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99:59:59,999 --> 99:59:59,999
it requires you to actually rotate your entire arm so that your

335
99:59:59,999 --> 99:59:59,999
elbow is facing a different direction.

336
99:59:59,999 --> 99:59:59,999
Lastly, here I'll just mention, when your arms are at rest at your sides,

337
99:59:59,999 --> 99:59:59,999
the default comfortable state is that central, half-twisted state,

338
99:59:59,999 --> 99:59:59,999
not the completely untwisted state.

339
99:59:59,999 --> 99:59:59,999
Alright, let's go back to reducing information and recap what we've learned.

340
99:59:59,999 --> 99:59:59,999
Of course, it's pretty fun to draw giant musclebound arms,

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99:59:59,999 --> 99:59:59,999
especially when you're trying to commit all these concepts to memory,

342
99:59:59,999 --> 99:59:59,999
but we also want to be able to simplify these things down

343
99:59:59,999 --> 99:59:59,999
into little anime stick arms.

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99:59:59,999 --> 99:59:59,999
When you start out in art, it's fine to just think of the upper and lower arms

345
99:59:59,999 --> 99:59:59,999
as just cylinders, and as you get more comfortable,

346
99:59:59,999 --> 99:59:59,999
you can introduce some tapering into these forms.

347
99:59:59,999 --> 99:59:59,999
Eventually you will want to be capable of some level

348
99:59:59,999 --> 99:59:59,999
of form complexity. These cross sections are never just round.

349
99:59:59,999 --> 99:59:59,999
They have weird oblong shapes and blobby looking contours.

350
99:59:59,999 --> 99:59:59,999
I like to practice these things with what I would call

351
99:59:59,999 --> 99:59:59,999
skinny muscle forms.

352
99:59:59,999 --> 99:59:59,999
Maybe it's just my Samurai Champloo roots coming through again.

353
99:59:59,999 --> 99:59:59,999
A quick example though, starting with a deltoid and shoulder,

354
99:59:59,999 --> 99:59:59,999
letting it point toward an elbow, think I'll twist the bicep to the bottom on this one,

355
99:59:59,999 --> 99:59:59,999
bicep means curve weight closer to elbows, so we can even dive in

356
99:59:59,999 --> 99:59:59,999
with some angular shapes.

357
99:59:59,999 --> 99:59:59,999
With the bicep facing forward, that means the deltoid

358
99:59:59,999 --> 99:59:59,999
can be a bit further on top instead of on the back,

359
99:59:59,999 --> 99:59:59,999
and we can even hint at some tricep form above the separating line.

360
99:59:59,999 --> 99:59:59,999
That line will let us know where to pull the brachioradialis from,

361
99:59:59,999 --> 99:59:59,999
and then we can decide on the hand rotation and

362
99:59:59,999 --> 99:59:59,999
make everything line up.

363
99:59:59,999 --> 99:59:59,999
Design wise, it's good to play around with the ratios of rounded

364
99:59:59,999 --> 99:59:59,999
shapes and angular shapes.

365
99:59:59,999 --> 99:59:59,999
We alluded earlier to the exterior side feeling more rounded

366
99:59:59,999 --> 99:59:59,999
and the interior feeling more angular, when

367
99:59:59,999 --> 99:59:59,999
discussing the elbow hinge,

368
99:59:59,999 --> 99:59:59,999
so let's just run with that a bit more.

369
99:59:59,999 --> 99:59:59,999
What if we just always simplified things around the elbow

370
99:59:59,999 --> 99:59:59,999
by playing up rounded exteriors and angular interiors in the forearm?

371
99:59:59,999 --> 99:59:59,999
I just noticed that that letter pointing towards the tricep is a D instead of a T.

372
99:59:59,999 --> 99:59:59,999
Clearly getting a bit delirious at this point.

373
99:59:59,999 --> 99:59:59,999
Regardless, let's keep sketching.

374
99:59:59,999 --> 99:59:59,999
Here's a quick side view, still mostly practicing 
curve weights and that brachioradialis.

375
99:59:59,999 --> 99:59:59,999
Some slightly more exciting things we could try

376
99:59:59,999 --> 99:59:59,999
would be playing around with perspective and dynamic angles.

377
99:59:59,999 --> 99:59:59,999
If we imagine a Spiderman type arm pose, we could still

378
99:59:59,999 --> 99:59:59,999
think about where we could exaggerate our forearm muscles.

379
99:59:59,999 --> 99:59:59,999
I'll be honest though, I sort of got distracted right after starting

380
99:59:59,999 --> 99:59:59,999
this one, because I thought of some more stuff to mention.

381
99:59:59,999 --> 99:59:59,999
Such as, what does it look like if you

382
99:59:59,999 --> 99:59:59,999
just have your elbow sticking up in the air

383
99:59:59,999 --> 99:59:59,999
with your arm curled behind it?

384
99:59:59,999 --> 99:59:59,999
A lot of tricep weight at the bottom,

385
99:59:59,999 --> 99:59:59,999
but it really things out into a very skeletal look

386
99:59:59,999 --> 99:59:59,999
at the elbow. It does give a nice look at the 
radius, ulna and funny bone.

387
99:59:59,999 --> 99:59:59,999
This becomes instantly obscured by the forearm

388
99:59:59,999 --> 99:59:59,999
once you straighten the arm out a bit
with those forearm muscles

389
99:59:59,999 --> 99:59:59,999
just taking over both sides of the elbow.

390
99:59:59,999 --> 99:59:59,999
But, this made me think of another scenario,

391
99:59:59,999 --> 99:59:59,999
how about when you're resting your weight

392
99:59:59,999 --> 99:59:59,999
on your elbow at a desk or table?

393
99:59:59,999 --> 99:59:59,999
Where do those forearm muscles go then?

394
99:59:59,999 --> 99:59:59,999
Well, since the brachioradialis connects
to the humerus,

395
99:59:59,999 --> 99:59:59,999
it actually sits up higher, away from the elbow
on the exterior side of things.

396
99:59:59,999 --> 99:59:59,999
I guess that's obvious enough, kind of like
how it would look if you were

397
99:59:59,999 --> 99:59:59,999
drinking something.

398
99:59:59,999 --> 99:59:59,999
Just always be keeping track of where
the thumb is,

399
99:59:59,999 --> 99:59:59,999
and where the exterior and interior
of the elbow are,

400
99:59:59,999 --> 99:59:59,999
and you'll be fine.

401
99:59:59,999 --> 99:59:59,999
Now, we always have a common mistakes
part in these videos.

402
99:59:59,999 --> 99:59:59,999
But, I think I've gone over things so much
that we can try a pop quiz instead.

403
99:59:59,999 --> 99:59:59,999
I'll show a quick drawing with some
weird mistake, and we'll see if

404
99:59:59,999 --> 99:59:59,999
you can deduce the problem.

405
99:59:59,999 --> 99:59:59,999
Like this. What's wrong with this?

406
99:59:59,999 --> 99:59:59,999
Well, you have two possible answers on 
this one, since we can't see the shoulder.

407
99:59:59,999 --> 99:59:59,999
We seem to be looking at the front of an 
arm, so either the brachioradialis

408
99:59:59,999 --> 99:59:59,999
is on the wrong side, or the hand
should be mirrored.

409
99:59:59,999 --> 99:59:59,999
How about this one? Anything seem off
to you?

410
99:59:59,999 --> 99:59:59,999
Well, I'm messing with you a bit, because

411
99:59:59,999 --> 99:59:59,999
it's the same thing, except this time you 
can see the deltoid,

412
99:59:59,999 --> 99:59:59,999
so there's only one answer.

413
99:59:59,999 --> 99:59:59,999
The brachioradialis is on the wrong side
again. It should be on the exterior,

414
99:59:59,999 --> 99:59:59,999
not interior.

415
99:59:59,999 --> 99:59:59,999
Alright, I promise this one will be different.

416
99:59:59,999 --> 99:59:59,999
What's wrong this time?

417
99:59:59,999 --> 99:59:59,999
Doesn't seem too far off, the deltoid
and forearm stuff seem okayish,

418
99:59:59,999 --> 99:59:59,999
this might be a subtle one, but I 
reversed the weight on the

419
99:59:59,999 --> 99:59:59,999
bicep and tricep curves.

420
99:59:59,999 --> 99:59:59,999
Remember the tricep should have mass 
closer to the shoulder, and the bicep

421
99:59:59,999 --> 99:59:59,999
curves closer to the elbow.

422
99:59:59,999 --> 99:59:59,999
That's a bit better.

423
99:59:59,999 --> 99:59:59,999
One last one.

424
99:59:59,999 --> 99:59:59,999
What's wrong now?

425
99:59:59,999 --> 99:59:59,999
Hmm, the brachioradialis is on the 
exterior, so that's fine.

426
99:59:59,999 --> 99:59:59,999
But it still looks a little strange.

427
99:59:59,999 --> 99:59:59,999
Well, that's because it needs to go over
the bicep, not under it.

428
99:59:59,999 --> 99:59:59,999
And with that, I think we're done learning.

429
99:59:59,999 --> 99:59:59,999
You have graduated to the part of the
video where we just take everything

430
99:59:59,999 --> 99:59:59,999
we learned and try to draw and paint
arms from imagination.

431
99:59:59,999 --> 99:59:59,999
Hopefully they wind up looking alright.

432
99:59:59,999 --> 99:59:59,999
I will be using a simple flat brush for these
lines, with pressure sensitivity

433
99:59:59,999 --> 99:59:59,999
mostly on size, but with a bit on opacity.

434
99:59:59,999 --> 99:59:59,999
That should make it feel pretty comfy and natural.

435
99:59:59,999 --> 99:59:59,999
One big concern I had going into this final section,

436
99:59:59,999 --> 99:59:59,999
is trying to make sure it stays focused on arms.

437
99:59:59,999 --> 99:59:59,999
Shoulders are a bit unavoidable, but I tried experimenting

438
99:59:59,999 --> 99:59:59,999
with ways to make the hands get less attention.

439
99:59:59,999 --> 99:59:59,999
Literal disjointed fingers and whatnot.

440
99:59:59,999 --> 99:59:59,999
Unfortunately, that actually made them 
stand out more,

441
99:59:59,999 --> 99:59:59,999
in rules of focus and contrast and whatnot,

442
99:59:59,999 --> 99:59:59,999
so eventually I'll get rid of that idea.

443
99:59:59,999 --> 99:59:59,999
What actually wound up being the biggest issue

444
99:59:59,999 --> 99:59:59,999
is just trying to come up with a good 
variety of poses.

445
99:59:59,999 --> 99:59:59,999
Once again, I considered crazy foreshortening,

446
99:59:59,999 --> 99:59:59,999
but then the page might feel less cohesive with the more traditional

447
99:59:59,999 --> 99:59:59,999
perspectives.

448
99:59:59,999 --> 99:59:59,999
I don't know. But I'm definitely enjoying
the line art quality.

449
99:59:59,999 --> 99:59:59,999
There are a couple of disjointed lines 
here and there,

450
99:59:59,999 --> 99:59:59,999
but I tried to hit a good number of
the c-curves and s-curves

451
99:59:59,999 --> 99:59:59,999
in single strokes.

452
99:59:59,999 --> 99:59:59,999
That can result in a lot of putting something
down and then undoing it,

453
99:59:59,999 --> 99:59:59,999
redoing it, until I figure out what 
I want it to look like,

454
99:59:59,999 --> 99:59:59,999
but I'm mostly okay with that method.

455
99:59:59,999 --> 99:59:59,999
I can't be too chaotic with styles, but
I did try to at least vary up

456
99:59:59,999 --> 99:59:59,999
the muscularity levels a bit as it goes on.

457
99:59:59,999 --> 99:59:59,999
My brain was pretty drained from all the
previous arm drawings,

458
99:59:59,999 --> 99:59:59,999
so there are definitely a couple of 
moments where I've made up an arm

459
99:59:59,999 --> 99:59:59,999
and then moments later realised it was 
almost identical to one that was

460
99:59:59,999 --> 99:59:59,999
already on the page, like this last one.

461
99:59:59,999 --> 99:59:59,999
But I just decided to adjust the angle of 
it a bit and move on.

462
99:59:59,999 --> 99:59:59,999
For colors, I don't know how much I can 
really say that would be new,

463
99:59:59,999 --> 99:59:59,999
the skin video as well as the other 
videos have really covered the general

464
99:59:59,999 --> 99:59:59,999
stuff. But you can see I've lightened the
line art into a lighter reddish tone,

465
99:59:59,999 --> 99:59:59,999
and then threw in my normal dull
minty background.

466
99:59:59,999 --> 99:59:59,999
I like to mask out everything in order
to watch transparency, which can

467
99:59:59,999 --> 99:59:59,999
be a bit tedious, but usually worth
it in the long run.

468
99:59:59,999 --> 99:59:59,999
A big piece of advice is to make sure
you don't instinctually start

469
99:59:59,999 --> 99:59:59,999
pressing hard with your stylus when blocking.

470
99:59:59,999 --> 99:59:59,999
This is always the most dangerous time for
your hand and wrist health,

471
99:59:59,999 --> 99:59:59,999
because we tend to dig in harder when
filling things in.

472
99:59:59,999 --> 99:59:59,999
Pressure is bad for your tendons.

473
99:59:59,999 --> 99:59:59,999
Anyway, once everything is blocked in, 
we can try out a variety

474
99:59:59,999 --> 99:59:59,999
of skin tones across the page.

475
99:59:59,999 --> 99:59:59,999
This is also a great time to introduce some
hue variety by air brushing

476
99:59:59,999 --> 99:59:59,999
in reds on areas that might catch more
sun damage, and things like that.

477
99:59:59,999 --> 99:59:59,999
The next step is form rendering, and I 
know some people like a more

478
99:59:59,999 --> 99:59:59,999
smooth gradiation and some people like a 
more chunkier chaotic painting approach.

479
99:59:59,999 --> 99:59:59,999
But, I'm going to try out some weirder ideas,

480
99:59:59,999 --> 99:59:59,999
and just try defining forms with blocky,
contour tracing strokes.

481
99:59:59,999 --> 99:59:59,999
Honestly it's a bit weird at times for these
videos, because I don't find myself

482
99:59:59,999 --> 99:59:59,999
with a strong preference.

483
99:59:59,999 --> 99:59:59,999
In my mind, as long as you have some
understanding of the forms

484
99:59:59,999 --> 99:59:59,999
you can always either step up how
abstract and chunky things are,

485
99:59:59,999 --> 99:59:59,999
or step it back into hypersoft air brushing.

486
99:59:59,999 --> 99:59:59,999
In any case, the important part is 
just knowing where the hard edges

487
99:59:59,999 --> 99:59:59,999
and soft edges should be.

488
99:59:59,999 --> 99:59:59,999
Now, how do you know which edges are hard
and which are soft?

489
99:59:59,999 --> 99:59:59,999
Well, it's simple. If you would be okay with
seeing an actual line at a specific

490
99:59:59,999 --> 99:59:59,999
spot in your drawing, then that can be
a hard edge in your painting.

491
99:59:59,999 --> 99:59:59,999
If you think a line would look bad in your
drawing, then stick to soft edges there.

492
99:59:59,999 --> 99:59:59,999
I already made pretty much all of the lines
I wanted to make in the drawing stage,

493
99:59:59,999 --> 99:59:59,999
so those will be the only hard edges.

494
99:59:59,999 --> 99:59:59,999
Anyway, I started out pretty experimental,

495
99:59:59,999 --> 99:59:59,999
with some of the painting stuff early on,

496
99:59:59,999 --> 99:59:59,999
but I wasn't that into it this time, so I'm 
slowly going to be dialling that back

497
99:59:59,999 --> 99:59:59,999
as we go. Almost all of these arms

498
99:59:59,999 --> 99:59:59,999
are going to be out of direct light, you know,
ambient light for the most part,

499
99:59:59,999 --> 99:59:59,999
aside from the one on the right that is
reaching toward us.

500
99:59:59,999 --> 99:59:59,999
Doing this somewhat makes the whole image
a bit darker and more saturated than

501
99:59:59,999 --> 99:59:59,999
I wanted, so I'll be desaturating and 
lightening it a bit as we go.

502
99:59:59,999 --> 99:59:59,999
Other than that, I definitely kept the line
art in play for a lot longer than I normally do.

503
99:59:59,999 --> 99:59:59,999
It's not until most of the form rendering
is complete that I actually

504
99:59:59,999 --> 99:59:59,999
flatten things down and start painting
out the lines.

505
99:59:59,999 --> 99:59:59,999
This is also when I start playing with 
slightly more interesting shapes

506
99:59:59,999 --> 99:59:59,999
in some of them.

507
99:59:59,999 --> 99:59:59,999
The rim light is going to be pretty 
subtle today,

508
99:59:59,999 --> 99:59:59,999
I definitely made it more limelight than
I normally recommend to people,

509
99:59:59,999 --> 99:59:59,999
but still trying to at least taper
those lines and find some

510
99:59:59,999 --> 99:59:59,999
chunkier shapes with it.

511
99:59:59,999 --> 99:59:59,999
To bring back some of the other fun stuff
from the skin rendering video,

512
99:59:59,999 --> 99:59:59,999
I decided to put in some body hair on
the top left arm.

513
99:59:59,999 --> 99:59:59,999
Just a bit of fun with desaturating colors
and pattern-based brushwork.

514
99:59:59,999 --> 99:59:59,999
This was also when I decided to at
least connect the fingers that I had there,

515
99:59:59,999 --> 99:59:59,999
but we're almost done, so the last

516
99:59:59,999 --> 99:59:59,999
thing I want to have fun with, is bringing
some of that body hair into the rim light.

517
99:59:59,999 --> 99:59:59,999
It makes the rim light a lot more fun.

518
99:59:59,999 --> 99:59:59,999
Definitely recommend trying it when you can.

519
99:59:59,999 --> 99:59:59,999
And, with that, this monster of a video is finally complete.

520
99:59:59,999 --> 99:59:59,999
It has been a journey, and while the drawings and paintings might not be perfect,

521
99:59:59,999 --> 99:59:59,999
hopefully you at least feel a bit more confident

522
99:59:59,999 --> 99:59:59,999
about being able to draw some fun arms from imagination.

523
99:59:59,999 --> 99:59:59,999
As always, the best way to fully learn is to mix in

524
99:59:59,999 --> 99:59:59,999
equal parts of drawing from human reference,

525
99:59:59,999 --> 99:59:59,999
doing master copies of other artists you like,

526
99:59:59,999 --> 99:59:59,999
and drawing from imagination.

527
99:59:59,999 --> 99:59:59,999
No matter how good or bad you might feel about

528
99:59:59,999 --> 99:59:59,999
one of these three parts, do them all evenly regardless.

529
99:59:59,999 --> 99:59:59,999
We only focussed on three main muscles in this video,

530
99:59:59,999 --> 99:59:59,999
so if you find yourself wanting to build up more complexity,

531
99:59:59,999 --> 99:59:59,999
just go check out one of the other amazing art YouTube

532
99:59:59,999 --> 99:59:59,999
channels that dives a bit deeper.

533
99:59:59,999 --> 99:59:59,999
Alright, I want to thank you all so much

534
99:59:59,999 --> 99:59:59,999
or at least giving this video a chance,

535
99:59:59,999 --> 99:59:59,999
I'm not a frequent uploader, so be sure to subecribe

536
99:59:59,999 --> 99:59:59,999
if you don't want to miss out on the

537
99:59:59,999 --> 99:59:59,999
handful of videos I put out each year.

538
99:59:59,999 --> 99:59:59,999
Of course, if you want some fun, specialised content

539
99:59:59,999 --> 99:59:59,999
the brainstorm classes have been going really well

540
99:59:59,999 --> 99:59:59,999
and its definitely worth your time and money

541
99:59:59,999 --> 99:59:59,999
if you haven't tried them out yet.

542
99:59:59,999 --> 99:59:59,999
Info is down in the description.

543
99:59:59,999 --> 99:59:59,999
I also, of course, do want to give an earnest thank you

544
99:59:59,999 --> 99:59:59,999
to the Patreon supporters that chip in

545
99:59:59,999 --> 99:59:59,999
money to keep these videos coming.

546
99:59:59,999 --> 99:59:59,999
You guys are wondeful.

547
99:59:59,999 --> 99:59:59,999
Seeya everyone.

548
99:59:59,999 --> 99:59:59,999
[Electronic buzz effect]